managed photos on Flickr

The Abbey Church of the Blessed Virgin Mary and St Sexburgha, Minster, Sheppey, Kent by Jelltex

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It is a long, long time ago that we were last here. I did manage to take about a dozen shots that day.

You'll be glad to know I took more this time.

Sheppy is other-worldly. It is an island, but now there are two bridges onto it, the last being a dual carriageway, getting you to the delights of Sheerness and Queensborough doubly quickly.

Away from the western end, the island barely rises above the waters of the Thames and Swale that surround it, except at one place; Minster, where a monastery was built to look down on the fenland all around.

As we were nearby in Iwade, it was a ten minute drive to get to Minster, find our way up the hill and a vacant parking space. The museum in the gatehouse was open, but we pass by that to the church and mister beyond, with its wide and squat tower rising from the graveyard.

I pushed the door of the church, and it swung open, revealing a huge space; once two churches, but now full of details worthy of investigating.

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The large, almost square, medieval gatehouse to the west of the church tells the visitor that here is no ordinary parish church. For nearly a thousand years this was both Minster Abbey and Minster parish church. Today it is one building, but formerly the present south aisle formed the parish church, whilst the north aisle belonged to the nuns and was part of the monastic enclosure. The parish church side has a distinct nineteenth-century feel to it, the result of a much-needed restoration of 1879 by Ewan Christian to which Queen Victoria contributed. It contains some notable old monuments; especially interesting is that to Sir Robert de Shurland (d. 1310) which is an effigy of a knight under a wall recess. Between the nuns' aisle and the parish church is the Cheyne tomb, commemorating Sir Thomas Cheyne (d. 1559). This imposing marble and alabaster table tomb shows him wearing his Order of the Garter. The north aisle - or nuns' church - has altogether more atmosphere with substantial remains of the original church built by St Sexburga, widow of King Erconbert of Kent in AD 670. The arched heads of two Saxon windows survive in the southern wall, and the 'chancel' of the nuns' church has had its plaster removed to show the early rubble construction. It is separated from the rest of the church by a fine oak screen of about 1400. The whole church has a well-cared-for atmosphere and should be near the top of all visitors' lists.

www.kentchurches.info/church.asp?p=Minster+in+Sheppey

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Minster Abbey or, to give it its full title, The Abbey Church of the Blessed Virgin Mary and Saint Sexburgha, occupies the highest hilltop position on the otherwise flat Isle of Sheppey in Kent and has been a place of worship for over 1,400 years.

Founded as a nunnery by the widowed Queen Sexburgha in 664AD it was endowed with land given by her son Ercombert, King of Kent. With no stone on the island the building material was hewn at Boughton Monchelsea and brought down the River Medway and the Swale. Examples of early Saxon stone and Roman tiles, (from an earlier Roman outpost of the garrison at Reculver which earlier occupied this hilltop,) can also be found in the walls of the St Sexburgha chapel. Three still functioning wells from the priory are located by the Gatehouse, under a shop in Minster High Street and in the garden of a house in the adjacent Falcon Gardens.

The priory was badly damaged, but not destroyed, by Danish Vikings in the ninth century and was further damaged in the 11th century.

Following the Norman invasion of 1066, King William the Conqueror partly rebuilt the church and priory and allowed nuns from Newington to take up residence. It remained impoverished, though, until Archbishop de Corbeuil rebuilt it between 1123 and 1139. He is credited with the unusual arrangement of two adjacent 'churches' with the northern church for the nuns and the southern for the parishioners. It is thought curtains were originally hung to cover the arches which separate the two churches. The stone for the Norman part of the church was imported from Caen from the same quarry that provided the stone for Canterbury Cathedral

During the Dissolution of the Monasteries by Henry VIII the two adjacent churches led directly to the saving of the Abbey church. Because the two churches shared a common wall and were linked by arches in the wall, the Abbey church was spared the destruction wrought on the rest of the Abbey

Following the Dissolution, the abbey came into the ownership of Sir Thomas Cheyne (or Cheney) and he was first buried in the now lost chapel of Saint Katherine on this site in 1559. Most of the Abbey was eventually demolished except for the church and the adjacent Abbey Gatehouse. The gatehouse survived because it was used as a private residence and now contains an interesting local history museum.

Repairs to the church were neglected in the mid 19th century, but Rev William Bramston restored the church in 1881 and the Abbey is now a Grade 1 listed building which provides protection but also limits the modernisation work which can be done (e.g. the installation of a disabled toilet)

Internally there is no chancel arch in the southern aisle while the northern aisle retains both chancel arch and a carved timber screen. At the eastern end of the southern aisle there is a niche which has traces of a medieval wall painting of St. Nicholas.

The north-east Sexburgha chapel (also known as the Nuns' chapel) is separated from North aisle by a 12th century oak screen

The church has an interesting array of monuments displaying English armour from the 14th to the 16th centuries. The earliest is Baron Robert de Shurland [died 1327] who reclines on an altar tomb on the southside. At his feet is the head of his horse, Grey Dolphin. According to local legend, Sir Robert killed a monk and resolved to ask the King for a pardon. In 1326 he rode to where the King's ship was anchored, off the Isle of Sheppey, and rode out through the water to gain forgiveness from the King. Returning, he met a witch who said that de Shurland's horse, Grey Dolphin, which had borne him so bravely to the ship, would be the death of him. Sir Robert immediately killed the horse and cut off its head. A year later Sir Robert was walking along the shore when a shard of the horse's bone pierced his foot. Blood poisoning set in and Sir Robert died, killed by his horse as predicted by the witch.

In the arches between the two churches is the final resting place of Sir Thomas Cheyne KG [1485-1558]. As Sherriff of Kent from 1516 and Lord Warden of the Cinque Ports from 1536 until his death, (a position he held through the reigns of all five of the Tudor monarchs), he became one of the most powerful men in the South-East of England. For many years he served as Treasurer of the Household for Henry VIII and remarkably retained this post under Mary 1.

In the north-east corner of the northern aisle there is the effigy of a man dressed in high Gothic armour from the late 15th century. Some sources suggest it might be Sir Hugh de Badlesemere, a Yorkist soldier who fought in the War of the Roses. However others say that it might be George, 1st Duke of Clarence, as George was constable of nearby Queenborough Castle. Supposedly executed at the Tower of London by drowning in a Butt of Malmsley, there is evidence, though, that George was buried with his wife in Tewksbury. The effigy is of very high quality and clearly reflects wealth, but all the shields and heraldry have been hacked off, which might suggest Tudor vandalism of a supposed Yorkist tomb. This could support the 'Clarence' theory, but the effigy also rests with his feet on a curly haired ram and not a bull - the bull badge being traditionally associated with George, Duke of Clarence.

Another effigy of early 15th century date was dug up in the churchyard in 1833 and this lies against the north wall. Some sources suggest this is General Geronimo who appears in the Register as being buried in December 1591. He was captured in a Spanish galleon by Sir Edward Hoby in 1588 and held hostage in Queenborough Castle. The ransom was never paid and he died in captivity. He clasps a small egg shaped image in his hands which is said to represent his soul

Other rough hewn tombs recovered at this time are thought to be tombs of abbesses of the Abbey.

www.minsterabbey.org.uk/3.html

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MINSTER

IS the principal parish in the Island of Shepey. It lies on high ground near the middle of the north side of it.

The parish takes its name from the monastery founded very early within it, Minstre in the Saxon language signifying a monastery or religious house.

The manor of Newington claims over a small part of this parish, but the paramount manor over the whole of it is that of Milton.

THE PARISH of Minster is by far the largest of any in the island. The village is situated on high ground near the middle of it, with the church, and ruins of the monastery close on the northern side of it; of the latter there is little more than the gate-house remaining.

THE VILLE of Sheerness is situated at the western bounds, as well of this parish as of the whole island, a further account of which will be given hereafter. It was formerly accounted as part of this parish, but it has long since been made a ville of itself, and as to its civil jurisdiction, entirely separate from this parish.

The cliffs on the northern side of this island, are likewise the northern boundaries of this parish; Queenborough and Sheerness bound it towards the west, and the Swale and the island of Elmley southward.

In June 1756, a monstrous fish, thought to be a young whale, was driven on shore at this place. It measured thirty-six feet and upwards in length, twentytwo feet in circumserence, and eight feet from the eyes to the tip of the nose. It was supposed to yield twenty hogsheads of oil.

King Edward III. in his 17th year, granted a fair to be held here on Palm Monday, which is still continued for toys and such like merchandize.

SEXBURGA, one of the daughters of Annas, king of East Anglia, and widow of Ercombert, king of Kent, between the years 664 and 673, having obtained lands in this parish of her son king Egbert, founded A MONASTERY here, which she finished and got well endowed for seventy-seven nuns, whom she placed in it, king Egbert himself adding several lands to it, and she became herself the first abbess. Soon after which, about the year 675, she resigned her government of it to her daughter Ermenilda, who became the second abbess, and then retired, in the year 699, to the Isle of Ely, to the monastery there, over which her sister Etheldred presided. (fn. 1)

During the times of the Danish invasions, the religious of this monastery were subject to continual instances of cruelty and oppression, and at last their house was in a great measure destroyed by them, and the nuns dispersed. In which situation it seems nearly to have remained till the reign of the Conqueror, who, on the prioress of the nunnery of Newington near Sittingborne having been strangled in her bed, consiscated their possessions, and removed the few remaining nuns to this ruinated monastery, which continued but in a very mean condition till the year 1130, when it was reedified and replenished with Benedictine nuns, by archbishop Corboil, and dedicated to St. Mary and St. Sexburg.

In the 8th year of king Richard II. anno 1384, the temporalities of this monastery were valued at 66 l. 8s. and the spiritualities at 73l. 6s. 8d. Total 139l. 14s. 8d.

¶In the 27th year of king Henry VIII. an act having passed for the suppression of all religious houses, whose revenues did not amount to the clear yearly value of two hundred pounds, this monastery, whose revenues amounted to no more than 129l. 7s. 10½d. annual re venue, or 122l. 14s. 6d. clear yearly income, being then ten pounds less than they were near two hundred years before, was surrendered up to the king, at which time it was in so indigent a state, that there were but a prioress and ten nuns in it. To the former, Alicia Crane, the king granted a pension of fourteen pounds for her life, towards her proper support and maintenance.

MINSTER is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

The church, which is dedicated to St. Mary and St. Sexburg, (as was the monastery) is supposed by some to have been the very church of it, but by others, that it only adjoined to it; at present it consists of two isles and two chancels. The steeple is at the west end, being a large square tower, with a turret at the top, in which there is a clock, and a ring of five bells. It was formerly higher than it is at present, as appears by the remains. There was formerly a building adjoining to the east end of the north chancel, as appears by a doorcase and some ornaments on the outside of it. In the north chancel, on the south side, is the tomb of Sir Thomas Cheney, knight of the garter, &c. who was buried with great state, in a chapel which had been the conventual church, adjoining to the north east part of this parish; but his son Henry, lord Cheney, having in 1581, anno 24 Elizabeth, obtained a licence to remove the coffins and bones of his father and ancestors from thence, he having sold the materials of the chapel to Sir Humphry Gilbert, and placed them in this parish church, the coffin of his father was, among others removed, and deposited in this chancel. On the north side, under an arch in the wall, on a grey marble, lies the figure of a man, habited in armour. In the south, or high chancel, against the south wall, is an antient tomb, with the effigies of a man lying at length crosslegged, and in armour; on his right side is the figure of a horse's head, carved alike in alabaster, and fixed to the tomb, concerning which many idle reports are current. (fn. 10) On a stone in the middle of the chancel, are the figures in brass of a man and woman; his in armour, cross-legged, with large spurs, his sword by his side, and this coat of arms, Ermine, a pale, engrailed, (perhaps it might have been originally a cross, the rest of it having been rubbed out); on her mantle, Three bars, wavy; under his feet a lion, under her's a talbot; the inscription underneath is gone, except the word Hic at the beginning of it. At the upper end of the north isle is a small stone, seemingly very antient, with a cross bottony on it.

In the year 1489, there was a chapel, dedicated to St. John Baptist, Situated within the cemetery of Minster, in Shepey.

The church of Minster seems to have been part of the endowment of the monastery at the first foundation of it.

¶This church was not many years afterwards appropriated to it, (fn. 11) the cure of it being esteemed as a donative, in which state it continued at the time of the dissolution of the monastery, when it came, together with the rest of the possessions of it, into the king's hands, where it remained till the king granted the rectory of Minster, with its rights, members, and appurtenances, and the advowson of the church there, to Sir Thomas Cheney, knight of the garter, &c. to hold in capite by knight's service, whose son Henry, lord Cheney, of Tuddington, alienated this rectory, with the advowson, to Robert Levesey, esq. in whose descendants it continued sometime afterwards, till at length it was sold to Gore, and William Gore, esq. of Boxley, died possessed of the rectory impropriate, with the advowson, in 1768. He died s.p. and by his will devised it to his relation Robert Mitchell, esq. who dying likewise. s.p. in 1779, gave his estates to his three nephews, Robert, Christopher, and Thomas, sons of his brother Thomas, the eldest of whom, Robert Mitchell, esq. became afterwards the sole proprietor of them.

The parsonage at present consists of a house, barns, &c. and one hundred and eighty-eight acres of arable, meadow, and pasture belonging to it, together with all the great and small tithes of the parish, of all kinds whatsoever.

The ecclesiastical jurisdiction of this parish extends over the ville of Sheerness, the populousness of which adds greatly to the burials in it, insomuch that in some years of late, they have amounted to between two and three hundred.

The church of Queenborough was formerly esteemed as a chapel to this church, but it has long since been independent of it. The cure of it is still esteemed as a donative, the yearly stipend of the curate being 16l. 13s. 4d. In 1578 the communicants were three hundred and eight.

In 1640 the stipend of the curate was 16l. 13s. 4d. Communicants two hundred and sixty-five. It is not in charge in the king's books.

Roger, abbot of St. Augustine's, in 1188 let to Agnes, prioress, and the convent of St. Sexburg, certain tithes within this parish, to hold in perpetual ferme at fourteen shillings yearly rent, &c. These tithes were those of Westlande; being those of Sir Adam de Shurlande, and of Adam Rusin (fn. 12)

www.british-history.ac.uk/survey-kent/vol6/pp216-229

World Economic Forum Annual Meeting by World Economic Forum

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Shereen Bhan, Managing Editor, CNBC-TV18, India speaking in the Gender Parity for Economic Recovery session at the World Economic Forum Annual Meeting 2023 in Davos-Klosters, Switzerland, 17 January. Congress Centre - Ignite. Copyright: World Economic Forum/Valeriano Di Domenico

Blue dasher male by Bryan - oz4caster

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Managed to get some good lighting to bring out the colors.

21 Tips for Improving Triathlon Times without effort by Timothy Takemoto

In my second triathlon I did not manage to get all that thin but I did manage to give up smoking and complete the course coming in 87th or thereabouts out of 240 something, I think. Thank you to all those that that held the tournament.

First of all, the strange specs shown above really helped, allowing me to stay down lower without straining to put my neck up.

Triathlon Lessons

1) Bring a towel T1 (everyone else knew this)

2) Bring a bottle and small bucket/large cup, of water to T1 and use it as a shower to wash off the salt water at T1. Took me a second and I enjoyed it.

3) Vaseline the hems of your triathlon wear (in my case cycle bib) so that they do not rub salt (?) water into your skin.

4) Check the gear that your bike is in. Loads of people were setting off really slowly because their bike was in a high gear, or even loosing the chain because the bike was not in gear at all.

5) Get some cleat pontoons (at amazon Japan), or cleats with pontoons so that you can run out of T2 pushing your bike without running on your cleats and or falling over.

6) Investigate some different water bottles. Cycling water bottles are like washing up liquid bottles allowing you to squeeze some water into your mouth. I want a bigger hole so that I can glug down some water much faster. Sipway, Oasisone-twelve, NeverReach, and Camelbak Antidote all use long straws.

7) Try to run small strides on your toes at high cadence. It was working for all the faster runners around me and I copied them.

8) Consider moving the position of the cleats of your pedals to the centre of your foot so that you do not use your toes at all in the bike part of the course. Arms swim, bike thighs, run calves? I have normally liked to use my toes while cycling but see advice here.

9) Use energy gel with sodium to help avoid cramp. What with the small amount of sports drink I was getting from my washing up liquid bottle, I thought I was going to get cramp. Thinking that all energy gels are the same I had packed on without Sodium which added to my fear of cramp. May well be baseless but next time I will use a sports gel.

10) Consider ease of energy gel access. Undo the top of the Japanese energy gel containers because they have a long screw thread and quite a hard seal to break. Consider attaching the gel to the bike frame with tape, or hanging it with easily breakable thin rubber bands from the bars, rather than reaching to rear pockets.

11) Practice putting on and using the triathlon belt. Put both front and rear numbers on the belt and swing sideways during movement.

12) Bring a cap to the run! As well as the sun, I find cap brims help with concetration.

13) Consider an armless wetsuit *with* full legs for more leg floatation.

14) Swim as far as you can to T1, utilising any area of deeper water, because swimming is faster than hobbling up out of the water on a ramp. (At triathlon shown here, one can swim up the side of the ramp and get on at the top)

15) Get short stop-just-above-heel, low-cut socks such as these for faster transition. (If you are going to use socks, as I am)

16) Get some elasticated shoe laces to save tying bows (which came undone in my case). Products include Yankz, Nathan Velocity, iBungee, Lace-Locks, xtenex and U-Lace (designed for fashion but may work even better). Elastic laces are the easiest way of getting faster. Calcum powder will ease access to shoe.

17) Consider putting bike shoes on the pedals. This saves time clipping in, and allows you to use a lighter single sided clipless pedals (such as Shimano PD-A600) which being one-sided, would otherwise take more time to clip into. The downside is that the shoes will fall upside down UNLESS you use thin elastic bands between frame and shoes, which will break when you start pedalling. All the same I think that this will allow me to put the first shoe on, but then as I pedal for one swing with it the other shoe's elastic will break. I guess I will have to mount the bike at a run or work out a way to set the position of the second shoe relative to the crank so that it turns with the crank perhaps with a wedge of paper.

18) Remmove your rear lights, bike lock and other stuff that you don't need in a race.

19) Equip a supporter with a Santa Hand Bell or proper athletics bell so that they can ring in your last "lap" (or part) of the run, if you remember "the bell" at (12:40) in races like these.

20) Prepare a response to non-participants who say "You were so fast," when their spouse (present) was slower. "Thanks to your support" might be okay.

21) And of course, make everything on the bike lighter, especially the moving parts. The website weightweenies.starbike.com will help. Their forums tell me that the lightest SPD clipless (i.e. with built in clips!) pedals, Xpedo XRF06TT at about 190 USD, are about 200 grams lighter than the ones I am now using. For the race above I bought shoes that were lighter than my old ones by a similiar amount and I certainly noticed a difference. Maybe I will get them next year.

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies, by Biennalist by Thierry Geoffroy / Colonel : Artist

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

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venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィア・ビエンナーレ威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

--------key words

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#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

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IMF_Vietnam by International Monetary Fund

(R) Deputy Managing Director of the International Monetary Fund Mitsuhiro Furusawa shakes hands with (L) Deputy Prime Minister of Vietnam Vuong Dinh Hue prior to their meeting at IMF Headquarters in Washington, DC. June 25, 2018.

©IMF Photo

The River by Stewart Williams

6 3

Just managed to get out before i lost the light today. another go at HDR i know some people don't like this sort of work but i like to keep my hand in as sometimes the effect of HDR can really make a shot in my opinion. these are taken using 9 exposures and then blended in Photomatix, and just a slight adjustment on levels and curves as always.as Always i welcome you to make comments or constructive criticism.